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Unknown Femur (2024)

Femur Bone, 3D Print, Glass, 49 × 18 × 18 cm

In "Unknown Femur" Bart draws on Susan Leigh Star’s concept of boundary objects to consider skeletal remains—dinosaur bones or paleolithic hominid fossils—as universal points of inquiry. The piece involves scanning an actual mammalian femur bone, creating plaster positives, and pressing hot glass onto these plaster forms. Once the glass elements were formed, they were adhered to the bone, and additional 3D-printed components referencing human bone molecules were integrated. Influenced by the speculative fusion of species and materials as seen in works like Annihilation, Bart engages with the idea that life evolves and mutates. The totemic femur becomes a liminal artifact that sits at intersections of biology, history, and art, prompting multiple interpretations across different knowledge systems.

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Diana Reloaded (2023)

3D Print, Coconut, Brass, 46 × 13 × 13 cm

Marlene Bart’s "Diana Reloaded" reimagines the tradition of cabinets of curiosities for the present day, blending natural and artificial elements into a striking contemporary sculpture. At its core is a 3D scan of the goddess Diana, reinterpreted as a huntress of visual information, fused with Medusa, from whose head corals and skulls emerge—symbols that reference the aesthetics of historical collections.
The piece was created using a multidisciplinary approach, combining 3D scanning, parametric modeling with Python scripts, and AI tools like DALL-E 3. By challenging traditional boundaries between "Artificialia" and "Naturalia," Bart explores the evolving relationship between nature, order, and technology in culture.

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Metamorphosis (2023)

Glass, 35 x 21 x 14 cm

In “Metamorphosis” two snails engage in mating, each possessing both male and female reproductive organs. Their translucent glass bodies fuse and intermingle, referencing the hermaphroditic qualities that blur binary divisions. Some snail species even risk bodily transformations, and lose their sex organ for survival during the mating process. These quiet encounters offer a counterpoint to more dramatic displays of dominance in the animal kingdom, and align with queer ecology’s challenge to rigid heteronormative categories. The sculpture illuminates the non-binary potentials present in nature’s reproductive strategies, rendering these fluid unions visible and tangible.

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Psychographics Construction (2023)

Glass, 3D Print, 18 x 11 x 12 cm

In “Psychographics Construction” a spider is situated on an abstracted glass brain. This inversion of normative hierarchies of cognition challenges the primacy assigned to human intellect. The spider, sourced from a CT scan file at the Natural History Museum in Berlin, was meticulously adjusted to fit into a brain form designed at Berlin Glass. With six of its legs penetrating the glass, and two resting on the surface, the piece juxtaposes technological innovation—3D printing, scanning—with an organism often misunderstood. Instead of symbolizing human fears or cultural projections, the spider occupies the cerebral landscape as a habitat, as if reclaiming its place as a biological creature.

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Ammonitehorn (2023)

3D Print, 40 x 12.5 x 6 cm

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Flying Sea Turtle (2023)

3D Print, 30 x 23 x 13 cm

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